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During the 1970s and 80s, Leipzig was industry and community has had on its present Siegemund, Karl Görlich, Nicole Kegel and
arguably a far more lively and influential artistic incarnation. The history of the Spinnerei mirrors Patrick Barth – as well as those who might be
centre than Berlin. It had East Germany’s most in several ways Germany’s passage from one of said to fall within the Spinnerei’s influence. For
important art school, the Hochschule für Grafik the nineteenth century’s youngest and most example, at the time of our visit it was possible
und Buchkunst (Academy of Visual Arts), and advanced industrial powerhouses to rubble- to see Arizona-based artist Anthony Pessler’s
it had an energetic, edgy and – back in the days strewn bankruptcy and back again. The artists, excellent series of graphite works Another
of totalitarian rule – illegal subcultural gallery artisans and everyone else who lives and/or Undiscovered Country, produced in 2007
world. Today the heart of Leipzig’s emerging art works in this centre of artistic production and during a five-month residency. Bertram
scene is found in Plagwitz, a shabby area that intellectual exchange no doubt recognises Schultze, the Spinnerei’s hugely personable
seems much removed from the city centre’s something of its old freewheeling spirit. and enthusiastic CEO, was as keen to draw
chocolate-box Gothic and bourgeois Currently the Spinnerei is host to about attention to the complex’s commitment to
Gründerzeit stolidity. Off the beaten track, and 100 studios and 10 galleries, covering 40,000 of attracting international talent and an
beyond the former-GDR’s bleak apartment the site’s 70,000 square metres, and has plans international audience as he was refreshingly
blocks, many of which are presently being to open up the remaining buildings for similar unapologetic in stressing that none of this
demolished, lies this decrepit but strangely use. The archiv massiv serves as a gallery would have been possible were private profits
beautiful industrial area that is home to the space for work produced by artists currently in not corralled into supporting the Spinnerei’s
Spinnerei. On visiting the former cotton mill, residence – including Rauch (who has been a goal of providing cheap space in which artists
it’s impossible to overlook the genuinely tenant in the mill since 1993), Johannes can both work and show. Not that gallerists
profound effect its history as a centre of Tiepelmann, Sandro Porcu, Konstanze themselves have been reluctant in striking up
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